Expanded Architecture

Temporal 1 Spatial Practices

2

Edited by Claudia Perren and Sarah Breen Lovett 3 Cover Images 1. Harry Seidler & Associates, Australia Square, floor plan, designed 1964 (diagram date ca. 1969). 2. Harry Seidler & Associates, Grosvenor Place, typical office floor plan for I.E.L. tenancy Level 44, 1987. 3. Harry Seidler & Associates, Capita Centre, 9 Castlereagh Street, plan of top executive floor Level 31, 1984–89.

Endpaper Images (Prolog) 1.1 Australia Square, tower as viewed from AWA Tower with Sydney Opera House in rear, Photo: Max Dupain, 1968. 1.2 Australia Square in construction, 1965. 1.3 Australia Square tower “keyhole shot”, viewed through the opening from stairs from plaza level, Photo: Max Dupain, 1968. Endpaper Images (Epilog) 2.1 Grosvenor Place, tower and Sydney Harbour in rear, Photo: Eric Sierins, 1989. 1.4 Alexander Calder, Crossed Blades, Australia Square, 1967, Photo: Max Dupain, date unknown. 2.2 Grosvenor Place, tower and north plaza entry from George St. March, Photo: Max Dupain, 1990. 1.5 Australia Square, Photo: Max Dupain, 1968. 2.3 Grosvenor Place, tower as seen from the curved screen wall of the north plaza, Photo: Eric Sierins, 1992. 2.4 Grosvenor Place, Photo: Max Dupain, 1990. 3.1 Capita Centre, executive roof terrace, Photo: Max Dupain, 1990. 2.5 Grosvenor Place, Photo: Max Dupain, 1990. 3.2 Lobby of Capita Centre, showing porcelain mural by Lin Utzon, Photo: Max Dupain, 1990. 3.4 Capita Centre, 9 Castlereagh Street, Photo: Max Dupain, 1990. 3.3 Façade of Capita Centre, 9 Castlereaght Street, Photo: Max Dupain, 1990. 3.5 Max Dupain, Capita Centre, 9 Castlereagh Street, Photo: Max Dupain, 1990. Expanded Architecture – III Experimental Practice Temporal Spatial Practises 1 FLOOR PAINTING 81 Nina and Elena Tory-Henderson Contents 2 THE MATTER OF VOIDS 82, 83 , 84, 85 Ainslie Murray 3 YOU ARE HEAR 87 I Introduction Lindsay Webb and Amanda Cole 4 HAUS DER FRAU 88, 89, 90 TEMPORAL FORMAL 17 Cottage Industries AT SEIDLER CITY 5 TAKE A SEAT 92, 93 Claudia Perren Bellemo & Cat 6 UNDER HARRY’S 94, 104, 105, 106, 107 CIRCUMSTANCES II Scholarly Discourse Ryuichi Fujimura and Kate Sherman DEFINING THE EXPANDED 23 7 SENTRIES 96, 97 Sarah Breen Lovett Tina Fox 8 COLLABORATIVE MAPPING 99, 101 BUILDINGS THAT 29 Kate Dunn and Phillip Gough EXPAND ARCHITECTURE 9 UNTITLED (TWO POWERS) 102, 103 Vladimir Belogolovsky Eduardo Kairuz 10 TEMPORAL FORMAL: 108, 109 SIX LECTURES: 41 AN INVESTIGATIVE RECONSTRUCTING AND SPATIAL PERFORMANCE TESTING HARRY SEIDLER’S Campbell Drake, 1980s ARCHITECTURE Karen Cummings, and DESIGN STUDIO Elizabeth Drake Paola Favaro 11 EXPERIMENTS IN PRESENCE 111, 112 Francis Kenna HARRY SEIDLER AND 57 REDUCTIVE ART IN AUSTRALIA Billy Gruner IV Scholarly Discourse

UNSTABLE ARCHITECTURES; 125 OR CAMPING, MODERNISM, AND BEYOND Thea Brejzek and Lawrence Wallen

V Appendix

Contributors 139 Acknowledgments 145 Partners and Sponsors 145 Picture Credits 146 Imprint 160

12 13 DEFINING THE EXPANDED Sarah Breen Lovett

Since the 1960s, interdisciplinary crossovers amongst art, cinema, performance and architecture have been referred to as “expanded.” Thus, the title of this exhibition series, Expanded Architecture, was developed within the lineage of such practices as expanded art, expanded cinema, expanded field, and expanded spatial practice. In each of these practices, the term expanded was first used in very specific ways, but then was broadly employed in a less-defined manner as the terminology became adopted, morphed and adapted to suit various interpretations. Rather than leading to the dilution of the original intention, the process of expanding the definition created multiple avenues for further definition, with ever- increasing richness and myriad of levels of inquiry to draw upon. Further, the avenues of inquiry associated with the term expanded do not imply expansion by moving away from the concerns of one’s own discipline, but instead they offer an interrogation of one discipline by reframing it through another. Expanded art was one of the first adaptations of the term expanded in relation to art practices. It can be traced back to 1946, in reference to an exhibition of paintings exploring new visual patterns in urban contexts, including “aerial views, cloverleaf highways, electric power lines, skyscrapers, giant airports and factories, a world of new scientific theories and processes, relativity, atomic power, radar, psychoanalysis, 1 motion pictures and television.” It is interesting to note the 1 Edith Weigle, “Expanded Art Exhibition,” aesthetic links between these works of expanded art and the Chicago Daily Tribune, early Bauhaus experiments in photography by László Moholy- 17 June 1946, p.27. 2 Nagy. 2 Laszlo Moholy-Nagy, The term expanded art was then popularized by the Painting, Photography, Film, trans. Janet Seligman Lithuanian-born American Fluxus artist George Macinuas in (Cambridge, Mass., 1927). the mid-1960s through the “Expanded Arts Diagram.”3 In this 3 George Maciunas, diagram, the expanded arts are first viewed as encompassing “Expanded Arts Diagram,” a variety of practices, including verbal theatre, happenings, Film Culture: Expanded neo-baroque theatre, collage, expanded cinema, kinesthetic Arts, no. 43 (1966), p. 7. theatre, acoustic theatre, events/neo-haiku theatre, anti-arts, 4 Mark Bartlett, “Socialimagestics and the and political culture. From a second perspective, the diagram Visual Acupuncture of Stan cites broadened use of expanded art as an umbrella term to Vanderbeek’s Expanded Cinema,” in Expanded include not only various types of media, but also assorted Cinema: Art, Performance, content, intents, and experiences. Evidenced through this Film, ed. David Curtis et diagram, the historical use of the term expanded was adapted al. (London, 2011), p. 52. to redefine the parameters of art practice. Expanded cinema was coined in the 1950s by the American experimental filmmaker Stan Vanderbeek to de­ scribe multiple, shared cinematic experiences, whereby people in one cinematic space have the same experience as people in another cinematic space.4 Ultimately, Vanderbeek

23 saw expanded cinema as a device for communicating be­ Expanded field was coined by the American artist 5 5 Ibid., p. 54; Stan tween cultures. Beginning in the 1960s, as documented Robert Morris, but popularized by the American theorist Vanderbeek, “Expanded 15 15 As noted in Michael Cinema: A Symposium, N.Y. by Mekas, the term became used in reference to cinema Rosalind Krauss in 1979. Both Morris and Krauss use the Archer, Art since 1960, Film Festival, 1966,” Film mixed with performance-based mediums, happenings, and term to define a set of postmodern sculptural practices that World of Art (London, Culture: Expanded Arts, 6 1997), p. 94; Rosalind no. 43 (Winter 1966), p. 1. kinesthetic theatre. Vanderbeek, however, dismissed this extend beyond the plinth and context of the gallery. Krauss Krauss, “Sculpture in the practice as inter-media, not expanded cinema, as the focus notes that artists of that time “operate directly on the frame Expanded Field,” October, 6 Jonas Mekas, Movie 7 no. 8 (Spring 1979): 38. Journal: The Rise of was not on intercultural exchange. In 1970 the American of the world of art. The term expanded field is one way of 16 New American Cinema, theorist Gene Youngblood also defined expanded cinema by mapping that frame.” According to Krauss, artists such as 16 Rosalind Krauss 1959–1971 (New York, et al., Art since 1900: 1972), pp. 188–222. its inter-social implications: “When we say expanded cinema Morris, Carl Andre, Bruce Nauman, Richard Serra, and Robert Modernism, Antimodernism, we mean consciousness … man’s ongoing historical drive to Smithson established their work off the plinth and in context Postmodernism (London, 7 Jonas Mekas, 2004), p. 544. introduction, Film Culture: manifest his consciousness outside of his mind, in front of with their surroundings. In Krauss’s Klein group diagram, the 8 Expanded Arts, no. 43 his eyes.” expanded field navigates the archipelago of architecture, 17 Ibid., p. 543. (Winter 1966), p. 1. Another faction of expanded cinema was created by non-architecture, landscape, and non-landscape. These el­ 18 Jane Rendell, Art 8 Gene Youngblood, British film artists’ multiscreen, live-action events, including ements are the chosen parameters, because in the quest for to Architecture: A Place Expanded Cinema (New Between (London and York, 1970), p. 41. those by the group Filmaktion. Although these artists did autonomy, modernist sculpture had rejected the context in not initially define their practice as expanded cinema, such which sculpture sat, such as landscape and architecture. It New York, 2006), p. 41. 9 Malcolm Le Grice, 19 Krauss, “Sculpture in “Around 1966,” influential film figures as the Lithuanian-born American film therefore became crucial to include them in creating a field 9 17 the Expanded Field,” p. 41. Abstract Film and critic Jonas Mekas and the Austrian artist Peter Weibel did. for postmodern practices. As the British theorist Jane Rendell Beyond (Cambridge, Mass., 1977), p. 121. Stemming from a background in structural cinema, this form says, sculpture, therefore becomes a practice suspended of expanded cinema was more focused on the processes of between a series of oppositions that categorize art practices 20 Ibid. 10 Jackie Hatfield and 18 21 Chrissie Iles, “Inside Stephen Littman, eds., film-making and audiences’ critical engagement, rather than not by their similarities but by their differences. In this way Out: Expanded Cinema Experimental Film and the creation of spectacle or illusion. As British film theorist the expanded field is defined as much by what it is as what and Its Relationship to Video: An Anthology the Gallery in the 1970s,” (Eastleigh, 2006), p. 237. Jackie Hatfield notes, this type of expanded cinema aimed it is not. in Expanded Cinema: to interrogate the parameters of the discipline of cinema What is most significant about Krauss’s expanded Activating the Space of 11 See Sarah Breen Lovett, Reception (London, 2009); “Expanded Architectural through “notions of conventional filmic language (for field for the development of expanded architecture is the also see Foster, quoted Awareness through the example dramaturgy, narrative, structure, technology) that way in which architecture is situated. The term axiomatic in Jane Rendell, “Site- Intersection of Expanded Writing: Critical Spatial Cinema and Architecture” are either extended or interrogated outside of the single- structures sits between architecture and non-architecture. 10 Practice,” paper presented (PhD diss., University of screen space.” Krauss describes this as “some kind of intervention into at “Expanded Spatial Sydney, forthcoming). These artists are of particular interest because they the real space of architecture, sometimes through spatial Practices: A Symposium 19 Exploring the Conditions 12 Jonas Mekas, “Movie engaged with architecture to examine a formal, structural reconstruction.” She calls the American Nauman’s Live- and Possibilities for Cross- Journal,” Village Voice, 11 Disciplinary Approaches 27 September 1973, 61. type of expanded cinema. As Mekas notes, “The London Taped Video Corridor (1967) “a process of mapping the to Spatial Practice,” 10–12 School is deep into structural researches, into process art, axiomatic features of the architectural experience—the September 2009, p. 5. 13 Le Grice, “Around 12 1966,” p. 122. and formal explorations of space relationships.” The British abstract conditions of openness and closure—onto the reality 20 22 Spyros Papapetros and artist Malcom Le Grice defined this type of expanded cinema of a given space.” Today, the term expanded field is no Julian Rose, eds., Retracing 14 Duncan White, the Expanded Field “Expanded Cinema,” as formal expanded cinema and compared it to expanded longer used to refer only to sculpture in the context of (Cambridge, Mass., 2006). Vertigo 4, no. 2 cinema, which aimed to create visual immersive projection architecture and landscape, but also to architecture and (2009), https://www. 13 closeupfilmcentre.com/ environments that he called total expanded cinema. landscape in the context of art, writing, cultural conditions, vertigo_magazine/ The formal and total approaches to expanded cinema and social networks. The intensity of disciplinary inquiry into volume-4-issue-2- winter-spring-20091/ outlined above are much more specific than the general the expanded field is, as the American historian Hal Foster expanded-cinema/ contemporary understanding of expanded cinema as a has described it, an implosion, as opposed to an explosion, (accessed 21 May 2015). variety of experimental film and projection practices that despite the appearance of an ever-expanding nature.21 This expand physically and visually beyond the frame of the is evidenced through interdisciplinary conferences, such screen and the traditional cinema framework. This broad as “Retracing the Expanded Field,” where there has been understanding of the term is described in the contextual a constant working and reworking of the expanded field.22 diagram of expanded cinema by Duncan White.14 The dia­ Expanded spatial practice is arguably more closely linked to gram includes 1920s Bauhaus filmic experiments, 1960s expanded architecture than the expanded field, because of its happenings, as well as contemporary immersive interactive implied relationship to the spectator and situated-ness within environments and internet art. various contexts. Rendell coined the term expanded spatial practice in 2009 as “an expanded consciousness of space: thinking and practicing space in an expanded sense might

24 25 then place emphasis on interior spaces of the psyche as well of exhibitions. The first was in 1966, in the American journal as those external landscapes, but also on what it means to Progressive Architecture, where “expanded architecture” 23 23 Rendell, “Site- operate spatially … establishing a relation between the two.” was used specifically to refer to the various experiments of Writing,” p. 7. 31 An expanded spatial practice could also be considered less designing architecture while under the influence of LSD. 31 Jan Rowan, “L.S.D.: A Design Tool?” Progressive 24 Rendell, Art to politically and socially motivated than Rendell’s other term, The second example is from 1971, when a group of radical Architecture, August 1966, Architecture, p. 2. critical spatial practice, which she describes as work that has architects, including Superstudio and 9999 in Italy, adopted pp. 147–153; Jan Rowan, 24 “Expanding Architecture,” 25 Rendell, Art to “spatial, temporal and social considerations.” In Rendell’s the term expanded in relation to architectural interventions Progressive Architecture, Architecture, p. 101. definition of critical spatial practice, there is arguably a fine and their notion of the Separate School for Expanded September 1966, 32 pp. 185–187. 26 Ibid., pp. 54–56. line between art that evokes an effect and art that critically Conceptual Architecture. To be considered expanded 25 32 9999 and S-Space, 27 Ibid., p. 43. engages with its disciplinary context. archi­tecture today, in relation to this series of exhibitions, Vita, morte e miracoli An interesting example of this delicate definition is something must be defined by an interrogation of the dell’architettura = 28 Ibid., p. 85. Rendell’s account of the material and phenomenological discipline of architecture. Life, Death and Miracles of Architecture 29 Hal Foster, “Post investigations of the French associates Jean-Gilles Decosterd This paper has illustrated that, despite the unarguable (Florence, 1971). Critical,” no. 139, October 2012, p. 7. and Philippe Rahm as critical spatial practice. Rahm’s work expansive connotations of the term expanded, when used in 33 Oxford English is characterized by Rendell as questioning the parameters association with interdisciplin-ary practices, it does not refer Dictionary, 30 Ibid. 26 33 of its own discipline and not just the effect of a space. to an indefinite expansion into other disciplines. Rather, it 2nd ed. (Oxford, 2010), 261.

Also of relevance is Rendell’s description of critical spatial is used to refer to an inter-nal interrogation of one’s own 34 The disciplinary 34 practice that is “at the edge of between and across different discipline through the lens of other disciplines. That is, context refers to the quotidian surroundings of a disciplines, … adopting methods that call into question expanded architecture questions what the parameters of discipline. It can be broadly 27 disciplinary procedures.” That is, the expanded nature of architecture are and how they can be examined through interpreted as social and cultural influences, the inquiry is done specifically to interrogate the parameters other practices, such as installation, performance, moving but more specifically of one’s own discipline. Rendell offers the works of the British image, sound art, and so on. Therefore, it is useful not to the context consisting of medium, space, and artists Tacita Dean and Jane and Louise Wilson as examples think of expanded as something that infinitely expands spectator relations. of self-reflexive and critical spatial practices that reframe outward in x, y, and z dimensions, but perhaps infinitely in understandings of architecture through filmic installation.28 those of y and z shored up by the perimeters of x. It is an Foster describes contemporary art and architecture practices eternal expansion of depth into the unknown that can be as post-critical. By this he means practices that do not situ­ considered infinitely richer than expanding in all directions. ate themselves in terms of any critical inquiry and may have This is not to say the terminology will always be used in this a heightened concern with “subjecthood.” In relation to way; in fact, to attempt to define, control, and monitor the installation that engages with architecture, Foster wrote term could potentially negate its very potential. It is hoped that a post-critical practice produces “spaces that confuse that if expanded continues to be used as a term, expanded the actual with the virtual and/or with sensations that are architecture will shed new light on architecture, opening up produced as effects yet seem intimate, indeed internal, new cracks in the wall to reveal and reconstruct our spatial, nonetheless.”29 Foster cites the works of the American artist material, sensorial, mental, social, cultural, and metaphysical James Turrell, Danish-Icelandic artist Olafur Eliasson, Swiss relationships to it in built form and as a discipline. architects Jacques Herzog and Pierre de Meuron, and Phiippe Rahm as examples of post-critical practice. He argues that through these works, “the phenomenological reflexivity of ‘seeing oneself see’ approaches its opposite: an installation or a building that seems to do the perceiving for us.”30 Because expanded architecture focuses on a reflexivity of one’s rela­ ­ tionship to architecture, according to Foster’s definition, it could be viewed as fetishizing the subjective experience of architecture through post-critical practice. In summation, all the terms discussed above had various influences on the selection of the title Expanded Architecture for this exhibition series, situating it among this lineage of creative practices that questioned disciplinary parameters. There is evidence of two previous uses of the term expanded architecture that predate the Expanded Architecture series

26 27 Imprint No part of the work may in any format (print, photocopy, microfilm, This book is published in conjunction CD, or any other process) be with the exhibition Expanded reproduced or—by application of Architecture: Temporal Formal at electronic systems—processed, Seidler City, curated by Claudia Perren manifolded nor broadcast without and Sarah Breen Lovett, held 8–9 approval of the copyright holder. November 2014 at Australia Square, Grosvenor Place, and Capita Centre, AADR—Art Architecture Design now 9 Castlereagh Street, Sydney. Research publishes research with an emphasis on the relationship between Editors: Claudia Perren and critical theory and creative practice. Sarah Breen Lovett Managing Editor: Alexia Pooth, AADR Curatorial Editor: Bauhaus Dessau Foundation Rochus Urban Hinkel, Stockholm Copyediting: Robin Surratt, Berlin Proofreading: Katrin Globke, Production: pth-mediaberatung Bauhaus Dessau Foundation GmbH, Würzburg Graphic Design: Studio Johannes Bissinger, Munich For further information on Type setting: Johannes Bissinger, Spurbuchverlag and AADR visit Munich / Yvonne Tenschert, www.aadr.info / www.spurbuch.de. Bauhaus Dessau Foundation Typeface: Programme Regular, Italic

Bauhaus Dessau Foundation Director Claudia Perren Gropiusallee 38 06846 Dessau-Roßlau, Germany www.bauhaus-dessau.de

© Copyright 2016 by Authors/Editors/ Photographers and Spurbuchverlag

ISBN 978-3-88778-434-8

The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie. Detailed bibliographic data are available at http://dnb.dnb.de.

Publication © by Spurbuchverlag 1. print run 2016 Am Eichenhügel 4, 96148 Baunach, Germany All rights reserved.

160 The book comprises discussion of site-specific works and essays exploring diverse notions of an expanded architecture through artistic experimentation, public participation, and interdisciplinary scholarly discourse contextual- ized in three high-rise buildings in Sydney’s central business district designed by Harry Seidler, who studied under Walter Gropius at Harvard University. Following the Bauhaus tradition, Seidler is also well known for his extensive collaborations with such artists as Josef Albers, Alexander Calder, Sol LeWitt, Frank Stella and Lin Utzon, relationships that are a backdrop to this project.

Expanded Architecture – Contributors include Temporal Spatial Practises is devoted Bellemo & Cat, Vladimir Belogolovsky, to Australian architectural icons of Thea Brejzek, Amanda Cole, modernism by Harry Seidler, casting Cottage Industries, Karen Cummings, current artistic perspectives on Campbell Drake, Elizabeth Drake, Bauhaus ideas and its advocates. Kate Dunn, Paola Favaro, Tina Fox, Ryuichi Fujimura, Phillip Gough, Billy Gruner, Eduardo Kairuz, Francis Kenna, Ainslie Murray, Kate Sherman, Nina Tory-Henderson, Elena Tory-Henderson, Lawrence Wallen, Lindsay Webb et al.

ISBN 978-3-88778-434-8

AADR publishes innovative artistic, creative and historical research in art, architecture, design and related fields.4 www.aadr.info www.spurbuch.de